Crazy And Insane In Shakespeare's Hamlet

Hamlet abuses Polonius’ assumption that Hamlet is “mad” by constantly behaving as such around him. In the film, he appears disheveled, engages in wordplay, and even throws Polonius off a ladder. Mel Gibson’s acting choices make it clear that Hamlet is merely pretending because, as soon as Polonius is out of sight, he usually has a ponderous soliloquy devoid of the mad mannerisms present with Polonius. This manipulation is especially present in the scene in which Hamlet tells Ophelia that he never loved her (3.1). In the film, Hamlet sees the king, queen, and Polonius run to hide and watch the conversation. During the scene, Hamlet tells Ophelia sotto voce, “I did love you once” (3.1.116). Then, he yells, “I loved you not” (3.1.119-120). Gibson’s change in volume and tone of voice proves that he is not fickle, a

She means a lot to him, but now she has rejected him (by returning his

As the story grows deeper, Hamlet shows us that he really did love Ophelia when Hamlet tells Ophelia that “I did love you once” (3.1.131). Hamlet only confesses that he did indeed loved Ophelia, but only when it goes on to says that Hamlet never loved her (Habib, 23). On the

            In Act 2, the King and Queen continue to try and determine why Hamlet is acting the way he is.   They request his friends Rosencrantz and Guildenstern to find out what is wrong. Polonius learns from Ophelia that Hamlet could be "mad for thy love?" (2.1.84), but Ophelia is not sure of it.  Polonius delivers his opinion to Claudius and Gertrude in which he states that Hamlet:

Acting crazy allows Hamlet to say and do things that he otherwise would not be allowed to do.This is evident when he is talking to Horatio and Marcellus and asks them not to tell anyone about his plan(1.5.192). Faking insanity also made him more bold. This is evident by the way he speaks to Gertrude, Ophelia, and Polonius in a disrespectful way. In the book he also makes a lot of sexual jokes towards Ophelia such as, That’s a fair thought to lie between maids legs (3.2.125).

Hamlet’s lunacy becomes quite real at points, and he enters into a deep melancholy. King Claudius and Queen Gertrude bring Hamlet’s schoolmates Rosencrantz and Guildenstern to probe Hamlet and find the source of his sorrow. Polonious, a pompous, yet loyal, man to Claudius, suggests that Hamlet is madly in love with his daughter Ophelia. It is during this time Polonius’ famous “brevity is the soul of wit” dialogue is said, after which point he rambles for nearly 10 minutes before telling the King and Queen his hypothesis. Claudius tests this theory by spying on Hamlet and Ophelia’s interaction with Polonius, however, Hamlet appears thoroughly insane after screaming at Ophelia and telling her to “get thee to a nunnery.”

Hamlet is however racked with indecision, and spends most of this scene subtly ridiculing Claudius anyway, though Hamlet is not yet sure of his guilt. For example, after the play has served its purpose and Claudius rises, calling for light, Hamlet makes a joke that the King is “frightened by false fire” (272), implying that the King is scared this may happen to him. The reader can envision the mocking tone from Hamlet’s verbal irony as he rejoices in finally proving the King’s guilt, at least to himself. Hamlet actually employs the same stylistic irony earlier, during a short exchange with Polonius, relating it back to his father’s murder. Polonius says, “I did enact Julius Caesar: I was killed i' the / Capitol; Brutus killed me” (105-6). To which Hamlet replies, “It was a brute part of him to kill so capital a calf / there” (107-8). This is symbolic of what Hamlet knows about his father’s death in that he relates Caesar’s innocent “calf-like” death to his father’s murder. This, along with pieces of his conversation with Ophelia, seem to be pieces in which he is talking to himself, so zealous about his plan with the play, that he is merely speaking aloud in riddles about what has been bothering him. He mentions to Ophelia, “how cheerfully my / mother looks, and my father

As stated by Ms. Turk, “If a person in a rational state of mind decides to act crazy, to abuse the people around him regardless of whether he loves those people or hates them, and to give free expression to all his antisocial thoughts, when he starts to carry out those actions, its it possible to say at what point the stops pretending and starts actually being crazy?”. In Hamlet by William Shakespeare, the way others interpret Hamlet’s behavior is different from the way Hamlet views himself.

In another scene, Polonius orders Ophelia to return the gifts that Hamlet gave her, and to make her rejection of him unmistakable and absolute. Polonius believes that if she is the cause of Hamlet’s madness, this would be the proof. “That Hamlet loses his mental stability is arguable from his behavior toward Ophelia…” (Foster, par.16) In Branagh’s version, we see how terribly this tears Ophelia’s heart. When Hamlet sees her, he walks up to her, telling her how much he loves her. After Hamlet kisses her, she returns the love letters that he wrote back to him. She sees how crushed he is, which makes her feel even worse; but she also believes she has to do this because her father ordered her to. Hamlet tells her “Get thee to a nunnery” (William

In Shakespeare's tragedy, Hamlet, the character of Hamlet feigns insanity. For a person in his situation, having one's peers think of one as crazy can be quite beneficial. His father, the king, had just died, and he is visited by a ghost who appears to be his father's spirit. The ghost tells Hamlet that he was murdered by his brother Claudius, who is now the current king and who recently married the former king's wife. Hamlet vows revenge and, as a tool to aid him in that plan, convinces people that he is crazy. The fact that he is acting, as opposed to actually being insane, can be seen in Hamlet's conversations with a watchman, two childhood friends, and his mother. Also, there are many actions in the play that he would not have

            Hamlet's plan for the antic disposition is to fool all the courtiers, especially Claudius. This way Claudius will not think that Hamlet is capable of killing him and

Polonius' pre-occupation with his courtly duties overshadows his character as the wise old man and marks his role as the fool. As the fool, Polonius provides comic relief, and a "busybody" messenger for the court. His speech, for all its wisdom, "makes him so comic and absurd. All his ludicrous exhibitions of pedantry and expertise, his mouthings of clichés and commonplaces, his observations and definitions--all imprison the mind's potential range in littleness" (Long 137). In addition to his speech being superfluous, Polonius' messages to Hamlet are quite ironic. The arrival of the Players and Gertrude's request to speak with Hamlet have already been relayed to Hamlet before Polonius repeats the messages. This foolish redundancy is comic and even more so is Polonius'

When Polonius and Claudius decide to test Hamlet’s madness through Ophelia, he confesses he once loved her; only to immediately contradict himself claiming her never loved her. Fuelled by his detestation of sinful mankind and his low opinion of women in general as a result of his mother’s incest, he furthermore repeatedly orders Ophelia to “Go [her] ways to a nunnery”. More crudeness on Hamlet’s behalf is shown during the play-in-play, when he tortures Ophelia with a series of rude sexual comments.

His inconsistent treating of Ophelia eventually drives her to insanity. The actual recognition of his love for Ophelia can only come when Hamlet realizes that she is dead, and free from her tainted womanly trappings “I lov’d Ophelia”. This is without doubt one of the most villainous qualities of Hamlet.

Hamlet uses Polonius’s initial interactions within a domestic setting and the royal court to establish Polonius’s character. When Polonius notarizes Reynaldo to spy on Laertes, Polonius lauds his method with such rhetorical flourishes as “wisdom and of reach” and “with windlasses and assays of bias,” to ensure that his ‘grand’ scheme is not lost on Reynaldo (2.1.61-62). The text chooses to show Polonius strutting such ornate rhetoric to commend himself, even when there is no one to impress beyond his own servant, to illustrate how Polonius is by his very nature pompous. When Polonius subsequently hears Ophelia relay her encounter with a deranged Hamlet, Polonius’s first instinct is to “go see the king,” rather than to comfort Ophelia beyond simply saying he’s sorry (2.1.114). Polonius’s primal instinct to serve his lord reveals a servile disposition baked into his very being. These intrinsic tendencies are hyperbolized through Polonius’s interaction with the royal family. Upon entering the court, Polonius immediately professes to “hold my duty … both to my God